The Post

As I prepped for the Women’s March, and only a day after the current president launched The Fakies, making time for The Post seemed both a necessity and a wonderful warm-up for the cause. The Post is a phenomenally important movie and message. I’ll get to the rating later.

This is Meryl Streep’s (Florence Foster Jenkins) story, without question. It is that extra layer of her coming into her own that really makes the film. But, surprisingly, while Tom Hanks (Inferno) , may share the marquis with her, it is really her relationship with Tracy Letts (Lady Bird) that is the flash point for her evolution; and his character enjoys that moment immensely.

There are a slew of other solid performances as well. Bob Odenkirk (Hell and Back) and Bruce Greenwood (Kingsman: The Golden Circle), for instance. But it is Bradley Whitford (Get Out) that stood out for me. His weasley Arthur Parsons was a study, mostly, in subtlety and restraint as an actor. And, though the performance isn’t particularly noteworthy, Michael Stuhlbarg (Call Me By Your Name) makes his fourth appearance in a top film this year; we should all have such a good agent working on our behalf!

While Streep’s character rules the story, it is the papers and message that rule the plot. This is clear in the way the Speilberg (The BFG) directs the shots and provides focus, often following the papers rather than the people. His message and warnings are clear about where we are today and what we cannot ever allow to happen. And the final moments slam that home with almost embarrassing abandon. But I have to tell you, we were all clapping come the final credits and when is the last time that happened in a movie for you? It wasn’t quite the hopeful rush that V for Vendetta brought to me during the W years, but, then again, this wasn’t a movie of hope, it was a call to arms.

All the import aside, it is only, really, a middling movie on its own. Much like Bridge of Spies, it feels somewhat sanitized. There is no grit and grime like, say, Roman J. Israel, Esq. had. It sometimes felt more like the memory of an era rather than the time itself. The beats, even if you don’t know the history, are all pretty predictable. The moments that stand out are the moments that show us Streep’s world and reality (and a couple will take the air out of your sails). But her transitions aren’t very crisp…you see them and know they happen, but I never saw the “moment” it clicked over only the moment before and after. Perhaps more of the blame belongs to fairly fresh writers Hannah and Singer, but it was still Spielberg’s to bring to life.

So yes, see it. You must. If not for the performances, for the reminder and for the energy to act. It is most certainly not a waste of your time even if it isn’t the instant classic of The Paper Chase (which would make a great double feature).